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Augustus Saint-Gaudens’ magisterial Shaw Memorial (1900) honors Colonel Robert Gould Shaw and the 54th Massachusetts Volunteer Infantry, one of the first regiments of African American soldiers formed during the Civil War (and portrayed in the 1989 film Glory). Although the soldiers’ heads are based on anonymous models, the men and women associated with the 54th are made known here through vintage photographs, letters, and the first Medal of Honor earned by an African American soldier. The Shaw Memorial and works by Lewis Hine, Richard Benson, Carrie Mae Weems, William Earle Williams, and Ed Hamilton embody the legacy of the 54th Massachusetts. And a roster of some 1,600 soldiers from the 54th specifies personal data when known, including rank and fate at the Battle of Fort Wagner.

Just as Leonardo da Vinci is to Renaissance Italy, Albrecht Dürer (1471–1528) is the reigning genius of the Northern European Renaissance. Dürer created paintings and portraits and wrote theoretical treatises on many subjects, yet his greatest and most influential works were his drawings, watercolors, engravings, and woodcuts. The Albertina in Vienna houses the preeminent collection of Dürer’s finished drawings and watercolors, many of them masterpieces acquired by Holy Roman Emperor Rudolph II. This volume includes more than 80 watercolors and drawings from the Albertina, among them The Great Piece of Turf and Praying Hands, as well as related engravings and woodcuts. Dürer’s refined precision, exquisite craftsmanship, and life and work are discussed in the context of the Albertina’s magnificent collection.

Featuring 125 working proofs and edition prints produced between 1972 and 2010 at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions. Among the 25 artists represented are those with long ties to Crown Point Press — Richard Diebenkorn, John Cage, Chuck Close, and Sol LeWitt — ​as well as those whose association is more recent, such as Mamma Andersson, Julie Mehretu, and Jockum Nordström.

Taking its title from Robert Hughes’ popular BBC television series The Shock of the New (1980), this absorbing volume examines the many manifestations of the “newspaper phenomenon” from 1909 to 2009, a century during which major and lesser-known artists engaged in a vibrant relationship with the printed news. The catalog includes works by Picasso, Braque, Man Ray, and a wide range of contemporary artists from Robert Rauschenberg and Jasper Johns to Laurie Anderson and Robert Gober. Accompanying essays remind us of the newspaper’s historical legacy, its cultural importance, and its continuing artistic role.

Augsburg enjoyed a golden age in the late 15th and early 16th centuries, fostering numerous artists such as Hans Burgkmair, Erhard Ratdolt, Daniel Hopfer, Jörg Breu, and Hans Weiditz. Focusing on the drawings, prints, and illustrated books they created as well as the innovative printing techniques they used, this volume—the first of its kind in English—serves as an introduction to the city of Augsburg during this period. Encompassing imperial propaganda, notably, for Maximilian I, humanist subjects, and devotional works, this distinctive body of work also celebrates artistic virtuosity and invention.

In his introduction to this book, Richard Brettell calls the nineteenth century in France “the paper century,” a period of extraordinary richness, experimentation, and inventiveness. Color, Line, Light addresses how French artists both initiated and responded to numerous shifts in tastes and style over the course of the century. Much has been written about the major movements and individual artists of the period, whereas this book considers the broad span of French draftsmanship from romanticism to neo-impressionism. The drawings, pastels, and watercolors present a rich diversity of subjects, styles, and techniques, alongside a comprehensive introduction and analysis of key artistic movements.

Published in conjunction with a major retrospective exhibition, this landmark volume is a rigorous analysis of the short life and career of American painter George Bellows (1882–1925) from his meteoric rise in New York City in the early 20th century to the largely unexplored period preceding his death. Abundant, detailed illustrations from every phase of the artist’s work accompany a series of thematic essays by leading art and social historians. In the aggregate they offer a rigorous and comprehensive view of Bellows’ artistic achievements in all mediums and a fresh consideration of his standing in relationship to artists such as Hopper, Picasso, and Manet as well as to his unique place in the history of both American and Western art.

"This new volume is surely the most important Bellows publication to date . . . [It] will open up one of the greatest American artists of the 20th century to a whole new generation. Never before has a book provided so many of the artist's creative achievements." —Ex Libris, American Fine Art

The late Joseph F. McCrindle’s recent gift to the National Gallery of Art comprises a rich selection of 71 drawings, encompassing a broad range of works by European and American artists from five centuries. This beautifully illustrated volume features works on paper by old master Italian, Netherlandish, French, and British artists, including Parmigianino, Marten van Heemskerck, Hubert Robert, and Thomas Rowlandson. Among the works by American artists are watercolors by William Stanley Haseltine and John Singer Sargent. New scholarship on individual works, a fully illustrated checklist of other works in the McCrindle Collection at the National Gallery of Art, and a biographical account of their enlightened collector complete this handsome edition.